Susumu Hirasawa (平沢 進) (born April 2, 1954) is a Japanese musician and composer.

In the fifth year of elementary school, Hirasawa took up the electric guitar, inspired by the surf and instrumental rock bands he heard on the radio and on TV, later joining his junior high school's band. In 1973 he formed Mandrake, a progressive rock band that incorporated elements from heavy metal and krautrock. Being one of the few Japanese progressive rock bands of its time, Mandrake achieved little success and released no albums during its lifetime.

After discovering punk rock and working on synthesizer-heavy projects, Hirasawa felt that progressive rock became just for entertainment and decided to reform the band as the electronic rock band P-Model in 1979. Originally met with success, they turned to decidedly uncommercial post-punk and experimental rock after Hirasawa went through an averse reaction to his fame. With Hirasawa at the forefront, the band went through various lineups and achieved some popularity in the Japanese independent music scene.

In 1989, Hirasawa launched his solo career. Unbound by the restraints of a band, his albums were marked by a refusal to stick to any particular genre. He continued to evolve his sound while concurrently working with two different iterations of P-Model until the group was disbanded in 2000. He has actively been releasing new music since.

While Hirasawa is mostly remembered in Japan for the first two P-Model albums, he has achieved international recognition for his soundtrack work, particularly for the adaptations of the Kentaro Miura manga Berserk and the work of anime director Satoshi Kon.

A constant source of inspiration for his music has come from Thailand. On a 1994 trip to Phuket, Hirasawa went through a "Thai shock", amazed by the country's culture, namely its transsexualcabaret performers, some of whom he would invite to be singers on his albums and guest performers in his concerts throughout his career. After many trips back to the country Hirasawa grew to be increasingly identified with the transsexual population, incorporating their problems and experiences in society into his work.[1]

On having his music categorized based on western trends, Hirasawa has said:

"I dislike it when I hear someone describe [my music] as weird rock, or weird techno. Surely this genre is hard to define in the music scene, because it doesn’t meet the standard of Western music charts. Hence if a rock music critic attempts to judge me [and my music], all they come up with is ambient music, or music to take drugs to. [The Japanese music scene] doesn't help with introducing terms such as New Age or transpersonality. I want to let my music reach a broader part of society, being music born from Japanese culture, and I think this is why I want to connect to the world that doesn’t exist in the music scene".[2]

For every main solo album he releases, Hirasawa also stages an accompanying "Interactive Live Show", an interactive concert that merges computer graphics with his music to tell a story. The flow of each show is determined by audience participation; for example, Interactive Live Show 2000 Philosopher's Propeller was formatted as a maze, and the audience was asked to choose which direction to go in. Provided with phone numbers to four cellular phones during one song, the audience was allowed to call the numbers to have Hirasawa play the corresponding ringtones. This created an improvised harmony between the background music and the ringing phones.[3] Since 1998, participation has been possible through the internet.

Hirasawa's live music is built on samples he activates with various hand-crafted machines and pre-recorded tracks without vocals. For the Solar Live concerts, he used solar power and a power-generating wheel as the source of energy for his electronic equipment.

Hirasawa has worked since the start of his solo career to decrease the amount of performers around himself. Most of his solo albums from 1992 onwards feature no guest musicians, and live backing bands were relinquished in 1994. Since then, only a few select shows have had guest singers or backing instrumentalists.

Hirasawa has favored guitars designed specifically by Japanese instrument manufacturers. With a movement in the early '80s of electric guitar makers moving away from mass-producing copies of foreign designs and towards original ones, Hirasawa played many unique models. Over a five-year period, from Mandrake's last days to the early P-Model phase, he used the H.S. Anderson Rider, Fernandes Art Wave and ESP Random Star, painting them in bright colors (burgundy, yellow, blue and white).[4][5] In 1983 he settled on Tōkai Gakki's Talbo aluminum guitars as his main ones, attracted by their unique material and design.[6] He used multiple Tōkai Talbos over an eleven-year period, with the guitar becoming an integral part of his image.

After Tōkai discontinued production and customer support for the Talbo due to financial difficulties in the mid-'90s, Hirasawa requested Fernandes to make him a guitar of his design in 1994 called PHOTON, a Talbo-shaped guitar with a wooden body.[7] In 2004, he requested TALBO Secret FACTORY, a manufacturer of Talbos run by other musicians who also liked the guitar and wanted to continue to use it, to build a Talbo of his own design, called ICE-9 (named after the material of the same name from Kurt Vonnegut's novel Cat's Cradle). It became Hirasawa's main guitar for the next eight years. To showcase it, he made an eponymous mini-album in 2005.

Hirasawa has continued to work with the TALBO Secret FACTORY, requesting the conversion of one of his early Tōkai models into a new design of his, the ASTRO, in 2011 and asking for the renewal of the PHOTON with new specifications after two decades of usage. In 2012, Secret FACTORY co-founder HISASHI gifted him a Talbo of his own design, the EVO 0101Z, which Hirasawa adopted as his new main guitar,[8] owning standard copies as well as two equipped with single coil guitar pickups for selective usage.[9]

Besides those, Hirasawa has also used different types of guitar for specific purposes, playing MIDI guitars like the Ibanez X-ING IMG-2010 and Casio MG500, various acoustic and classical models, classic surf ones like the Mosrite and the Jaguar, and the Aria AS-100C/SPL silent guitar.

Hirasawa has used Amiga computers extensively in his work, starting out with CG production in 1987,[10] and later on applying it on his albums and live shows, using applications such as Say, SCALA, Bars & Pipes, SuperJAM![11] and OctaMED. He stopped using Amigas with the LIMBO-54 shows of 2003[10] and the Byakkoya/Paprika albums of 2006, since "maintaining an Amiga now is, like maintaining a classic car, costly".[12]

When choosing string tones Hirasawa aims to find ones with unstable pitches and a "dark sound", which he finds harmonious, such as the Mellotron, Kurzweil synths and EASTWEST's line of Symphonic sounds.[17]

In the '90s, Hirasawa gradually moved his work from professional facilities to home, dubbing his workspace on various residences "Studio WIRESELF". He finally moved completely to it by the recording of 2000's Philosopher's Propeller.[18] The following year he undertook the sustainable energy project "Hirasawa Energy Works" and changed his lifestyle so that all his music would be recorded with solar energy. To reduce carbon emission, Studio WIRESELF was outfitted to be powered completely by a photovoltaic system of 2 solar panels,[19] with 2 car batteries to store extra energy. Years later, Hirasawa added 2 more panels to the studio and retired the batteries.[9]

Initially Studio WIRESELF operated on large pieces of equipment, both analog and digital. With the advances of technology and the streamlining of production under Hirasawa Energy Works, the working landscape transitioned to software synthesizers, with the physical elements of the studio reduced to one recording booth and two workstations, one for Hirasawa and the other for engineer Masanori Chinzei.[9]

In 1988, Hirasawa sold a cassette book at a flea market in Yoyogi for charity, it contained 3 New Age songs made specifically for the release and came with a 36-page long booklet chronicling the self-analysis of his dreams and reality. All proceeds were donated to the Human Earth – Awakening Village (人間大地・めざめの里,Ningen Daichi Mezame no Sato) volunteering welfare facility for the mentally ill in Gunma Prefecture, founded by the psychologist who gave Hirasawa counseling around the time he made the P-Model albums Scuba and Karkador.

In 2001, a pregnant stray cat appeared in Hirasawa's studio. He took care of her and helped carry out four of her pregnancies from 2001 to 2002. Since he could not take care of all the kittens, Hirasawa created a temporary site to recruit possible adopters and keep up with the welfare of the various cats.[20]

As Hirasawa objected to the American response after the September 11 attacks, which he believes involved excessive carnage, and the Japanese government's aiding of such actions, he offered downloads of online banners and two of his songs for free, which he hoped would be used as tools of objection.[21] One of them is a rerecording of 1994's "Love Song", which is about children in the battlefield; the other is "High-Minded Castle", about a man who "can not know the truth and true background through media, he tries to face the real tragedy on the other side of the world". The latter was taken from the Blue Limbo album, which displays a dystopian theme partly influenced by the American government's retaliation.

To support freelance journalists, independent and citizen media, Hirasawa started a free music archive to be used by independent news as background music.[22] He sent e-mails to various associates and members of P-Model requesting involvement,[23] the only one to join was guitarist PEVO 1go. The files uploaded were instrumental mixes of songs by both musicians, including some from Vistoron, whose concept revolves around the propagation of a false reality by mass media.[24]

In the aftermath of the 2011 Tōhoku earthquake and tsunami and the Fukushima Daiichi nuclear disaster, Hirasawa started traveling around the country with a Geiger counter, measuring the radiation levels and reporting them in his Twitter account. In June 2011, a song was posted on his site, titled "Nuclear Power" (原子力,Genshiryoku): A rerecording of the P-Model song "Boat" (from 1984's Scuba) in the style of "The Aggregated Past – Kangen Shugi 8760 Hours" project, with the lyrics changed to protest against Japan's use of nuclear power and to criticize the government and the media. The song, credited to "Stealthman", was only available on the site for six days, but could be redistributed if unaltered and not for profit. An instrumental mix was posted on the site by Hirasawa after the original was taken down, following the same distribution guidelines. As these events occurred, Hirasawa told a story on Twitter of being assaulted and having his computer and website hacked by "Stealthman". Through his tweets and the way the posts were worded on his website, Hirasawa effectively distanced himself from the track and disowned it. The song is available on the karaoke service provider Xing's Joysound online song library, credited to "Stealthman".[25][26]

Hirasawa has an older brother, artist Yūichi (平沢 裕一,born October 5, 1950), who goes by the moniker "YOU1". He formed a stage effects team to give Mandrake shows visual flair and appeared on the band's last show, running on a treadmill.[27] Yūichi was P-Model's art director for the band's first 9 years of existence, and has done occasional artwork for his brother from 2013 onwards. His only musical credits are for writing the lyrics of "For Kids" and "Sunshine City" (from In a Model Room), and for doing backing vocals on "Rocket" (from The Ghost in Science).

In 2013, Yūichi opened the café bar Gazio in Tsukuba. Although branded as a "new wave" café, the establishment was heavily themed around P-Model and Susumu: it was adorned with various band related memorabilia, served original cocktails titled after his songs and often held special events and shows by members and associates of the band; Susumu made exclusive content for it and, as he gives his brother most things he has no need for at a given moment,[28] many studio and stage objects were displayed in the café. Gazio ceased operations as an active restaurant in 2015 and rebranded as an art studio; Yūichi now holds twice monthly "Café Gazio" events in Kichijōji.

Since childhood, Hirasawa showed a love for machines, and thought of himself as an engineer. He was a RC plane enthusiast (at one point in time wanting to be a pilot) and repaired broken devices (such as radios and flashlights) given to him by his parents. He studied in the electronics department of Honjo Technical High School, where he was the first to finish the graduation project, the construction of a TV, out of sheer luck, since he did not fully understand the circuits. He also had motocross as a hobby for a time.[12]

During the early days of Mandrake, he worked as a part-time carrier on a fruits and vegetables market during the morning and at a Pepsi warehouse during the night, alongside Mandrake co-founder Fumiyasu Abe.[32] In 1978, Hirasawa applied for a part-time lecturer position at Yamaha Music Foundation, and since he was the only person that applied for that position, he got the job. He taught courses at the Yamaha Synthesizer School until 1983, and met various musicians that would he later collaborate with through these lectures.[27] After leaving his position as teacher, he took to making commercial jingle for the rest of the decade to make ends meet.[33]

Hirasawa started smoking in 1979[34] and quit in 2001. He's also a teetotaler, since drinking anything larger than a fifth of a cup of beer makes him feel like his head is exploding.[35] Regardless of that, he used to drink small amounts of wine during recording sessions to preserve his voice, which he's since replaced with throat lozenges.[36]

A vegetarian, Hirasawa doesn't eat meat, remarking, "At any rate, meat is unappetizing and gross. Eating meat makes me tired and makes me throw up".[39] He lives in a house in Tsukuba with his pet calico cat Tebin (テビン). The house also has a garden, where he grows some of his food; he also cultivates bacteria to make yogurt out of soy milk.[26]

While repeatedly incorporating various concepts from Shintoism and Buddhism in his themes, as well as ones from other Asian religions, Hirasawa has never specified what his beliefs are. However, at one point in time, he supported the return of the imperial cult of the Emperor of Japan as a psychological measure: "I think His Majesty needs to recover his glorification. In this matter, I’m sort of right wing; the Emperor of Japan needs to regain his symbolic position as a God. But this is for the sake of a healthy process of collective consciousness, so please don't lump my position in with all the militaristic talk".[40]

1^ It has never been re-issued, although one of the songs was rerecorded for Water in Time and Space.

2^ This is a series of recordings of a weekly FM Gunma half-hour radio show that Hirasawa hosted. It lasted 39 broadcasts, divided in 12 volumes, released in sets of 4 tapes.

3^ Although this is considered a P-Model release (with 2 of its 4 files being credited to P-Model), it includes one Susumu Hirasawa song (the remaining file is credited to 4-D mode2, a group heavily associated with P-MODEL and Hirasawa, with two of its three members being P-Model members at some point).

4^ 3 part release, with parts 1 and 2 being named Audio File to Honor the Hunter and Winter Sunlight Conversion Example.

5^ The track "Ruktun or Die" was a limited time offer, and was taken out of sale in January 2002.

6^ Five of the seven ringtones were released by twenty2product on their website for free under the name "keitai".

7^ A limited time offer, taken out of NO ROOM on June 29, 2011, although re-distribution was allowed. Comes with text file containing lyrics.

8^ A limited time offer, taken out of NO ROOM on July 4, 2011, although re-distribution was allowed.

9^ Lyrics co-written with Masami Orimo. Rerecording of 1990 collaboration with Wakako Shimazaki. Fanclub members can download it and a karaoke mix for free.

Hirasawa has appeared as a musical guest on various Japanese TV and radio shows (sometimes with P-Model) and some of his songs that were not made with the intention of being BGM have been used to this end. He has also contributed songs for X-Bomber (see "other projects") and has worked on various commercial jingles (most of them unidentified) for companies like Denon, Kirin, Mazda, Mizuno, NTT, Rado, Unicharm and Volvo.[41]

1^ A jingle for a radio/TV/cassette recorder combo. Performed with Yasumi Tanaka. Broadcast 1980. Never officially released.

2^ Titled Power Hall (パワーホール,Pawā Hōru), the name became a sort of brand for Choshu. Writing is credited to "Hanmyō Ibo", a play on words with the Japanese for "tiger beetle" (Hirasawa's favorite insect) and "wart". Performance is credited to "ZZZ". Disowned by Hirasawa. First released on an obscure 1980 vinyl record, later included on various wrestler entrance theme compilations, such as "Wrestling Q", which includes two covers of other wrestlers' entrance themes by Hirasawa. Various artists have covered the song, including Ken Ishii.

3^ Hirasawa only made sound effects for the show, and only worked on it for about a year.[41]

4^ A collection of ten assorted commercial jingles for Shiseido, Tama-Plaza, Kansai Yamamoto, Sony, Nescafé, Teijin and Marui. Six variations of a jingle for Matsuden Home Shopping by Teruo Nakano are also included. Released as a bonus for the first volume of the Moire Club newsletter.

5^ Writing and performance are credited to "Yoshio Fukurai", a tribute to Tomokichi Fukurai. Out of the album's eleven tracks, "Furukai" is only present on the title track.

6^ A month before the release of the first episode, Polydor released a "Making of" tape titled Detonator Orgun 0, where a Hirasawa interview is included. They also released a Music Special disc with the opening and ending themes of the first episode.

7^ A fantasy manga by Orgun writer Hideki Kakinuma. The soundtrack would be more accurately described as a commissioned ImageEP.

8^ The first installment of Human Vision Special, a now defunct series of television documentary specials produced annually by Hokkaido Television Broadcasting. It was originally broadcast on April 29, 1992 and later re-edited for home video release. Hirasawa appears in the TV edit riding a canoe. The soundtrack has never had an official standalone release: The title track was originally released on Root of Spirit～ESSENCE OF HIRASAWA SOLO WORKS and Music For Movies～World of Susumu Hirasawa Soundtracks compilations, while the only release of the soundtrack proper is on Disc 11 of the HALDYN DOME box set, 20 years after the documentary aired.

9^ A "spectacle show" summer attraction at the Parque España in Shima. When it premiered, the soundtrack could be only bought from the park's gift shops.

10^ A short movie about the JR Shinjuku Station. The soundtrack has never had an official standalone release; the only kind of sound played on the short (which bears some resemblance to the Syun track "Kun Mae #4" from the "Kun Mae on a Calculation" album from 1996) was originally released on Illegal Dumping (named "Densha"), it was later released with other twenty2product collaborations and remaining tracks on Disc 16 of the HALDYN DOME box set (named "densha").

11^ An ArtdinkPlayStationRPG. Hirasawa only composed and performed the opening theme: "The Man Who Knows the Stars" (星を知る者,Hoshi wo Shiru Mono); it was originally released on "From Hirasawa: Solo Songs Not on CD", a live performance was included on the PHONON 2553 VISION DVD, an alternate version (named "2010 version") was later released with other remaining tracks on Disc 16 of the HALDYN DOME box set.

12^ A looping presentation about alternative energy, part of the "Hirasawa Energy Works" project. The soundtrack has never had an official standalone release. The audio, recorded during a surge of "Surplus Power" was originally released on Hirasawa's PHANTOM NOTES website (named "LOOP The Sound Track β1"). It was later released with other twenty2product collaborations and remaining tracks on Disc 16 of the HALDYN DOME box set (named "loop").

13^ Hirasawa only composed and performed the boot jingle: "Eastern-boot". Two additional tracks were included on the AmigaOS 4.0 CD to showcase Hirasawa's music. The jingle was later released in the FAMIGA (Japanese Amiga community involved with Hirasawa) Forums and with Hirasawa's Near Future Never Come e-book (which consists of essays published on FAMIGA).

14^ The soundtrack has never had an official standalone release; the only kind of sound played on the short was originally released on LIVE Byakkoya – White Tiger Field Memorial Package (named "Bonus Spot"), it was later released with other twenty2product collaborations and remaining tracks on Disc 16 of the HALDYN DOME box set (named "IDN").

16^ Hirasawa only composed and performed the opening theme "Sign" and the ending theme "Sign-2", two different arrangements of the same song.

17^ As of 2011, production on the film has been put on hold for financial and artistic reasons following the death of director Satoshi Kon. Only a few scene/song combinations were set by Kon before his death;[45] it is not known if Hirasawa has started work on the film yet.

18^ A collection of various songs by Hirasawa and PEVO 1go from their careers that have been edited to serve as film score to be freely used by independent media and free-lance journalists delivering news via the Internet.

19^ Hirasawa only composed and performed the theme song: "Aria". While there have been soundtrack releases for the films, none of them include Hirasawa's work.

20^ The Japanese home video release of the film includes a live performance of "Aria" from Hirasawa's "PHONON2555" concert tour (when that tour's DVD was released, this same performance was included, but with alternative angles overlaid on top of the version of this DVD). Video of a public appearance made by Hirasawa, the trilogy's director and voice actors of the main characters to promote the third film, The Advent, was included in its Japanese home video release.

21^ Hirasawa only composed and performed the insert songs "Ashes" and "Ash Crow". Accompanying album is a compilation of songs written for various Berserk projects.

Unreal SopranoINTERACTIVE LIVE SHOWSIREN (架空のソプラノINTERACTIVE LIVE SHOWSIREN,Kakū no Soprano)

Released: January 21, 1997

Label: Nippon Columbia, TESLAKITE

Formats: VHS

INTERACTIVE LIVE SHOW 2000Philosopher's Propellerversion 1.4 (INTERACTIVE LIVE SHOW 2000賢者のプロペラversion 1.4,INTERACTIVE LIVE SHOW 2000Kenja no Puroperaversion 1.4)

Released: May 15, 2001

Label: Chaos Union, TESLAKITE

Formats: VHS, DVD

Hirasawa Energy WorksSolar LiveLIVE SOLAR RAY

Released: September 24, 2002

Label: Chaos Union, TESLAKITE

Formats: VHS, DVD

Interactive Live Show 2003LIMBO-54

Released: November 26, 2003

Label: Chaos Union, TESLAKITE

Formats: DVD

Reflection on the Meeting of ICE-9ICE-9 LIVE & TALK EVENT (反射の集いは氷の9ICE-9 LIVE & TALK EVENT,Hansha no Tsudoi wa Kōri no 9ICE-9 LIVE & TALK EVENT)

Released: September 19, 2006

Label: Chaos Union, TESLAKITE

Formats: DVD

INTERACTIVE LIVE SHOW 2006LIVE Byakkoya (INTERACTIVE LIVE SHOW 2006LIVE 白虎野)

Released: October 31, 2007

Label: Chaos Union, TESLAKITE

Formats: DVD

P-0 (P-Soon) (ピー・スーン,Pī Sūn)

Released: August 18, 2008

Label: Chaos Union, TESLAKITE

Formats: DVD

PHONON 2550 VISION

Released: October 30, 2008

Label: Chaos Union, TESLAKITE

Formats: DVD

PHONON 2551 VISION

Released: August 15, 2009

Label: Chaos Union, TESLAKITE

Formats: DVD

INTERACTIVE LIVE SHOW 2009LIVE Planet Roll Call (INTERACTIVE LIVE SHOW 2009LIVE 点呼する惑星,INTERACTIVE LIVE SHOW 2009LIVE Tenko Suru Wakusei)

Released: February 15, 2010

Label: Chaos Union, TESLAKITE

Formats: DVD

PHONON 2553 VISION

Released: May 30, 2011

Label: Chaos Union, TESLAKITE

Formats: DVD

Tokyo I-jigen Kudou (東京異次弦空洞)

Released: November 30, 2011

Label: Chaos Union, TESLAKITE

Formats: DVD

PHONON 2555 VISION

Released: August 19, 2013

Label: Chaos Union, TESLAKITE

Formats: DVD

INTERACTIVE LIVE SHOW 2013Nomonos and Imium (INTERACTIVE LIVE SHOW 2013LIVE ノモノスとイミューム,INTERACTIVE LIVE SHOW 2013Nomonosu to Imyūmu)

Released: January 28, 2015

Label: Chaos Union, TESLAKITE

Formats: DVD

1^ This tape contains an AMIGA animation made by Hirasawa set to "Wood, Wind and Water Music" from the CHARITY ORIGINAL TAPE BY SUSUMU HIRASAWA and a monologue spoken by the Amiga program "Say" detailing the reasons for P-Model's Freezing/hiatus.

2^ Instead of containing a live show, this series of tapes contain experimental videos/Desk Top Movies based around Hirasawa's music.

5^ "Tonight" was also included in the compilation "TECHNOLOID 〜JAPANESE 80's NEW WAVE SAMPLER〜" (which also includes the P-Model song "Art Mania"). "Stock" (ストック,Sutokku) was also included in the compilation "Impossibles! ~ 80's JAPANESE PUNK & NEW WAVE" (which also includes the "Countless Answers" version of the P-Model song "Atom-Siberia").

6^ Released with the magazine "ING, O! No.5". Act name given as "Michiro Endo + Susumu Hirasawa + Korechika Kitada + Jun Inui". The only track was also included in the compilation "KI-GA KI-GA KI-KYO".

7^ Rerecording of the P-Model song of the same name from the album "Scuba". with new arrangement & guitar lines.

8^ Fellow P-Model member Shunichi Miura also plays keyboards on all tracks.

9^ Those tracks were also included in the compilations "TWIN ～ VERY BEST COLLECTION" and "TEICHIKU WORKS – 30th anniversary".

10^ Lyrics co-written with Masami Orimo. Also included in the compilations "20th anniversary BOX", "for winter music Lovers ～ TECHNO POP Xmas" and "Archetype | 1989～1995 Polydor years of Hirasawa". Rerecorded solo as a standalone MP3 release for Christmas 2014.

11^ The tracks with vocals were included in the compilations "TWIN ～ VERY BEST COLLECTION", "TOGAWA LEGEND – SELF SELECT BEST & RARE 1979～2008" and "TEICHIKU WORKS – 30th anniversary". The title track was included in the compilation "Sanagika no Onna: Mika Ninagawa Selection" and its music video was included in the 2002 and 2012 reissues of the video "Yapoos Keikaku" and the compilation "TEICHIKU WORKS – 30th anniversary". All tracks exclusive to this release are included in reissues of Shōwa Kyōnen.

12^ "Memento Mori" was also included in the compilation "GROOVIN' Shōwa! 7 ～ Romantist".

13^ This song was included in the compilation "TOGAWA LEGEND – SELF SELECT BEST & RARE 1979～2008".

14^ A rerecording/remix of the P-Model song of the same name from Big Body, the album also includes an a capella alternatively named version of "LAB=01" from the album P-Model that doesn't use the parts written by Hirasawa and a remix of the Opening SE that P-Model used on their 1992 shows.

16^ A cover of a P-Model song of the same name from the album Perspective (the original's lyrics were written by Hirasawa and Tanaka and the music was composed by Tanaka). The entire album's lyrics are sung in the PEVO language, which was created by the band (a dictionary can be found in the booklet) and some of them sung by a pitch-shifted Hirasawa, who wasn't credited for either lyrics or vocals, but was credited for production as "Volquice Proladuke".

17^ Hirasawa would later re-record both songs, with himself on vocals, for the album TECHNIQUE OF RELIEF. "Mother" was included in the compilation "Best Collection ~ Meccha Best".

18^ Hirasawa would later re-record this song 5 times, with himself on vocals.

19^ Co-written with Yuiko. Co-Credited with "Shirō Sakata" (Hirasawa under a pseudonym)